The Last Love of George Sand

A Literary Biography

Evelyne Bloch-Dano

• Publisher: Arcade
• Year: 2015
• ISBN:
  9781628725605
• Topic: Literature
• Subtopic: Literary Biographies
• Index: Literature

George Sand is one the most celebrated writers and controversial personalities of nineteenth-century France; she is as famous for her bohemian lifestyle as for her written work. The Last Love of George Sand portrays the writer, political activist, and cultural figure as she starts a new chapter in her ever-surprising life: the mature years with her last lover, the young and talented engraver Alexandre Manceau.A turning point came for George Sand in 1849. After her political involvement in the revolution of 1848, Sand retreated to her country property, Nohant, with her son Maurice and started writing new plays. One day, Maurice introduced her to Alexandre Manceau, a young and shy artist thirteen years her junior. At forty-five, she was at the pinnacle of her career. She had a long history of tumultuous love affairs with famous artists such as Musset, Chopin, and Mérimée, but she had never experienced a peaceful and balanced relationship. With Manceau, Sand discovered that she could be loved, and fall in love herself, without drama. Their relationship would last fifteen years, and prove to be the most prolific period of Sand's life, with fifty books published including the novels Elle et lui, inspired by her relationship with Musset, and Le dernier amour, written just ten days after Manceau died of tuberculosis.Although much has been written about George Sand, most of the previous biographies are focused on her more turbulent times. In The Last Love of George Sand, Evelyne Bloch-Dano looks back on Sand's life from the vantage point of her years with Manceau.Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

Chapter One

____________

“MY HEART IS A GRAVE”

At last! There’s Nohant. Each homecoming offers some relief. This cold December brings a feeble hope that she might escape her inner demons. She is forty-five years old and world-weary.

Dark melancholy has enveloped these past two years. The utter failure of the revolution of ’48, the mistakes, the socialists’ collapse, her friends thrown in prison . . . and for what? An ultraconservative Assemblée and Louis-Napoléon Bonaparte’s victory. Her political disillusions mingle with her personal sorrows, especially the rift between her and Solange, her daughter. How could she forgive her unacceptable behavior towards Chopin? The flirting, the gossip, the slander, the depraved life with her sculptor husband, Jean-Baptiste Clésinger, this unpredictably violent creature that she herself had nonetheless welcomed into the family. Solange cuts her mother to the heart, incapable to love, and, herself, badly loved. What would George Sand be without her son, her Maurice, her cherished Bouli? A hollow soulless shell. He had been in Paris that spring, during the cholera epidemic. What if something had happened to him? She never would have survived.

So many deaths over the past few months. Her half-brother, Hippolyte, her childhood companion who finally succumbed to his alcoholism. Dearest Marie Dorval, her adorable, fragile, marvelous, and extreme Marie, her first adolescent love, Alfred de Vigny’s muse, Hernani’s Doña Sol, Chaterton’s Kitty Bell, the romantic diva who told her “I want to be you”—now forgotten, fallen into quasi poverty, dead from despair when her grandson disappeared. And of course Frédéric Chopin, who died on October 17, devoured by consumption. He hadn’t seen her since their brief meeting on a staircase one day in March of ’48. That day he had told George Sand that Solange had given birth to a daughter, Jeanne, who passed away a few days later. George Sand never saw the child. She had barely finished her letter of congratulations when she found herself penning her condolences. The two letters reached her daughter on the same day.

Chopin had apparently wanted to see her before he died. Perhaps. But what good would it have done? During their nine years together she had been more mother than a lover, practically celibate since their return from Majorca. Life had been both chaotic and harmoniously balanced between Paris and Nohant, all at the measure of his possessive and hypersensitive genius. This incomparable musician was so troubled, so talented. He had taken Solange’s side without hesitation. She felt no remorse over her break-up letter, nor for their abrupt separation. The events that followed convinced her she was right; but still, what a sad, sad failure. His death sent her spiraling into a deep depression.

She had played so many parts. From the young Aurore Dupin, running through the fields, to the rowdy and mystical pupil at the Augustinian Sisters boarding school; Baron Dudevant’s restless young wife, mother of two, and living a bohemian lifestyle in Paris; author of Indiana and Lélia, dressing in men’s clothes, smoking men’s cigars, adopting a man’s name; the romantic muse of Alfred de Musset and Frédéric Chopin, her love affairs; the novelist admired by the likes of Dostoyevsky, Balzac, Delacroix, and Liszt; a liberated woman, always choosing her own lovers; the idealist faced with the harsh reality of the revolution. Such a romantic life—so brave, so taxing. What then remains? Rancor? Sorrow?

Any other woman would have accepted her fate and stayed by her husband’s side. Young Aurore married Casimir Dudevant just to avoid the abhorrent suitors her mother forced upon her. A fresh-faced green girl of eighteen, horseback riding through the Berry countryside, studying philosophy passionately—oh, the hours she spent in her grandmother’s library reading Aristotle, Leibniz, Rousseau, and others. She genuinely did believe she was happy with her husband. But soon, ennui settled in, eroding her courage, leaving her devoid of strength, with tears in her eyes. Casimir and Aurore had nothing in common save their republican beliefs. Everything that interested her bored or irritated him. He only found enjoyment in hunting, country living, drinking, and women—not at all a mean man, but definitely not suited for her.

“I saw how you detested music,” she wrote to him in a twenty-two-page confession letter, “and how the very sound of the piano drove you away, so I put an end to it. You read only to oblige me, and no sooner had you read a few lines that your eyes closed and the book fell from your hands. As to our conversations on any subject, whether about literature, poetry, or ethics, most of the time you didn’t know the authors of whom I spoke, or you dismissed my ideas as mere folly—fanatical and romantic. I simply stopped speaking.”

Even the birth of their son, Maurice, who was weaned too soon, failed to shake off her depression a year later. Their marriage collapsed. She soon found a kindred spirit in the romantic Aurélien de Sèze—a platonic love. A lover followed—a real lover—her childhood friend Stéphane Ajasson de Grandsagne, “the pretty Steny.” The birth of her daughter, Solange, didn’t lift her depression—a banal tale of a disappointed and bored wife. But contrary to the Madame Bovary about whom her future friend Gustave Flaubert would one day write, she saw exactly what she wanted and followed her dreams to the stars.

At twenty-six, she came to an arrangement with Casimir—she would divide her time between Paris and Nohant. She settled in the capital with her new lover, Jules Sandeau, a nineteen-year-old law student with curly hair. They cowrote the novel Pink and White (Rose et Blanche) under the pseudonym J. Sand, and both worked as reporters for The Paris Journal (La Revue de Paris) and Le Figaro. Under the celebrated Henri Latouche’s tight iron fist, Sand earned her journalistic stripes.

Everything changed in 1832 with the publication of her first novel, Indiana. Romantic and exotic, tempered by her bitter experience, Indiana shocked her readers. It spoke a modern language, breaking tradition with the popular historical novels of the day. A new romantic age awoke in the 1830s: Hugo with Hernani, Balzac with The Magic Skin (La Peau de chagrin), Stendhal’s The Red and the Black (Le Rouge et le Noir), Théophile Gautier’s Young France (Jeunes-France), Musset’s Venitian Nights (La Nuit vénitienne). Indiana was a woman’s triumph; a young woman of twenty-eight who led the charge against marriage and advocated freedom in love. Aurore Dudevant, née Dupin, became a celebrity overnight under her new chosen name, George Sand—a masculine name with an English spelling. And not without a nod towards home: “Georgeon” happens to be the word for devil in the Berry dialect. But however lightly she handled her name change in Story of My Life (Histoire de ma vie), it was by no means a benign choice. By abandoning both her father’s and her husband’s names, she created a whole new identity, that of George Sand, the author. She also broke from her female ancestry, the Aurores of her grandmother and great-grandmother, Marie-Aurore de Saxe and Aurore de Koenigsmark. She impudently feminized her male name. She made a true name for herself from a pseudonym and even passed it down to her children.

How many novels, how many plays, how many essays would follow Indiana? After Valentine came Lélia, proclaiming a woman’s right to pleasure. Her readers thought the book to be a self-portrait, which hounded her for the rest of her life. Then came Jacques, A Traveler’s Letters (Lettres d’un voyageur), Mauprat, Spiridion, The Master Mosaic-Workers (Les Maîtres mosaïstes), The Journeyman Joiner, Or, The Companion of the Tour de France (Le Compagnon du Tour de France), Horace, Winter in Majorca (Un hiver à Majorque), Consuelo, The Countess Von Rudolstadt (La Comtesse de Rudolstadt), Jeanne, The Miller of Angibault (Le Meunier d’Angibault), The Devil’s Pool (La Mare au diable), Lucrezia Floriani, and François the Waif (François le Champi), to name but a few works of over forty novels and novellas written between 1832 and 1848.

George Sand did not fully exist except within (and because of) fiction. Imagination was the only breath of fresh air in the dull weight of Aurore’s daily life. But her romantic inspiration didn’t stop her from tackling issues closest to her heart: love and friendship, women and marriage, art and work, craftsmen and farmers, city folk and country folk, nature, mysticism, and secret societies. Her life was merely choices motivated by circumstances, meetings, and readings, by inspiration and conviction. George Sand, the pen flying across paper. Each book nipped at the heels of the one that came before, like each dream giving birth to the next. But writing was also how she earned her living—the iron shackles that chained her to the publishers of the journals she depended upon. They, in turn, compared her to the greatest writers. Balzac borrowed her personality for Camille Maupin in Béatrix, and others followed suit. “What would French literature be to most European readers if not for George Sand and Balzac?” Stedhal wrote. In 1854, Nadar placed her first in his famous Panthéon of 250 writers, where Victor Hugo seems to bow before a pedestal crowned with the bust of George Sand at the head of a long line of artists.

She was highly sought after, admired, criticized, and ridiculed. She had a rebellious nature, this woman who declared freedom from men. Yet George Sand’s freedom could not be defined by sex or gender any more than could her art. As soon as a discussion turned to literature, politics, or art, she used the masculine pronoun to refer to herself. She saw herself as an artist, not a female writer. Her contemporaries placed her in a league of her own. Flaubert would one day write to Turgenev about her, “You must know her as I have known her to see all of the femininity of this great man, to see the tremendous emotion of her genius.” Her image in the 1832 lithographs became her signature look for years: a tailored frockcoat, a top hat fitted snugly over dark waves of hair, a cane or a Manila cigar resting in her hands.

Her creative activities did not limit this woman. Everything interested her; she studied natural science, medicine, and botany with passion, as well as painting, music, sewing, embroidery, gardening, and of course, her famous preserves. (She described them to her friend Jules Néraud, “the Malagasy,” in 1844: “You must make them yourself, and you must not take your eyes off of them for an instant. It’s just as serious as writing a novel.”) And she was generous to a fault, showing great concern for others. Men like Louis Michel, the republican lawyer; Félicité Lamennais, an anticlerical Christian whose social mysticism she greatly admired and who fed her intellectual curiosity; Pierre Leroux, a socialist whom she helped to found The Independent Journal (La Revue indépendante), kept close contact with Sand. While she was accused of changing her philosophy based on who she talked to that day, she was crafting her own philosophy, like a bee gathering pollen from different flowers to make its own honey. However, the utopian within her was badly wounded by the bloody developments of June 1848 and the total failure of the Republic—one in which she could no longer recognize herself.

There wasn’t a man in her life at that point, either. She, who had known such passion, so many fleeting lovers . . . What would the future hold for her?

The year 1849 is drawing to a close. Now she must take stock of her situation.

George Sand arrives by train in Châteauroux, where the coach—the bagottoire, as they say in Berry—comes to pick her up. This cold December strings together the browns and grays of the countryside—no cause for glad tidings. But then, it’s better than Paris, which she enjoys less and less. She may have felt a certain pleasure during her visit in February ’48, but this time, three weeks were too long for her. And that was despite having stayed at the Hôtel de France on the rue d’Antin, in the theater district. Her play, adapted from the pages of François the Waif, completely won over the audience at the Odéon (the book would not be published until the following year). What a triumph! Critical acclaim and a packed house. The love story between François, the abandoned child, and Madeleine, his adoptive mother; Marie Laurent’s moving interpretation; the painstaking care that Bocage brought to his interpretation of country-living in Berry; everything had been spot on. Satisfied—she’ll be able to save herself from financial ruin after the debts Solange racked up. Still, nothing brings her true happiness.

While in Paris, she had paid visits to Sainte Chapelle and the minister of public instruction. Prosper Mérmiée, her short-lived lover, had become inspector of historic monuments. She hoped he would grant historical status to the Nohant-Vic church. She had been at the center of Paris gossip when she broke off her liaisons with Carmen’s author. But that was such a long time ago . . . They had seen each other since, during an official dinner. She was “neither old nor young, and quite pretty, with striking dark eyes which she lowered when I looked at her. She looked better than she did twelve years ago,”2 Mérmiée remembered. He brought her a cigar, which she gladly accepted. No words were exchanged between them. . . . In reality, a full fifteen years had rolled by since their affair, and the fledgling novelist had now become the most celebrated woman of the day.

Forty-five years old. Is that truly “neither old nor young”?

Alexis de Tocqueville crossed paths with George Sand for the first time at that same dinner in May ’48, during the socialist enlistment. She had many friends there: Bakounine, Louis Blanc, Mazzini, Ledru-Rollin, and Barbès. The conservative from Normandy described her as “a sort of political man.” Tocqueville loathed women who wrote, even more so when they spoke of revolution. He eyed her warily, but nevertheless found himself captivated by her conversation, her understanding of politics, and the accuracy of her predictions. “I did like her,” he wrote. “I found her to be a rather large woman, but who held herself admirably well. Her whole being seemed to be contained within her eyes; and the rest of her face, mere matter. What surprised me most of all was recognizing the natural allure of a great mind in this woman. There was such simplicity to her thoughts and her speech that perhaps she affected a bit of the same simplemindedness in her dress.”3

Feigned simplicity? It’s far from Stendhal’s opinion, who met her on the way to Italy and was inspired to write that fashion must have been George Sand’s forte, she wore clothes so well! Although, he did add with some scorn that “her one flaw is her grand philosophy, her pretension.” If only women would stick to talking about clothes . . .

She did admittedly enjoy beautiful fabrics and colors. Her elegant dress could not escape the feminine eye of Elizabeth Barrett Browning. The English poet was captivated by her gray serge dress and her stylish jacket, buttoned to her neck and trimmed with a collar and plain weave lawn sleeves, and thus pronounced her to be attired “with great nicety.”4 George Sand had a look. It was her Spartan style that contrasted with the fashion of the day and was quite shocking for such a prominent woman. Mostly, she placed comfort above everything else, wanting the freedom to move from the parlor to the garden, from the kitchen to her desk. No percale, she specified to her half-sister, Caroline, who wanted to embroider sleeves for her: Muslin was “too much clothing for how active I am.”5 Neat, yes; fashionable, no. Unless the fashion was a refusal to pay much attention to her physical appearance.

Eugène D...

Table of contents

• Cover
• Title Page
• Copyright
• Dedication
• Contents
• Chapter 1 “My Heart Is a Grave”
• Chapter 2 “The Dream of the Simple, the Good, the True”
• Chapter 3 “Always, We Are Ruled by Weaker Minds”
• Chapter 4 “As Pure as Gold”
• Chapter 5 “Engraving Is a Serious Art”
• Chapter 6 “I Prefer to Keep Pressing Forward”
• Chapter 7 “We All Have Our Secrets”
• Chapter 8 “This Wild and Unpredictable Nature”
• Chapter 9 “I Am No Madame de Staël”
• Chapter 10 “Let’s Help One Another Not to Despair”
• Chapter 11 “This Mother Hen Instinct”
• Chapter 12 “My Dear Child, They Have Killed You”
• Chapter 13 “Italia, Italia!”
• Chapter 14 “My Soul Has Grown Old and Weary”
• Chapter 15 “Manceau Owns a House!”
• Chapter 16 “The True Story of She and Him”
• Chapter 17 “Impersonality Has Saved Me”
• Chapter 18 “I So Love My New Daughter”
• Chapter 19 “Let Us Depart, My Old Friend, Let Us Leave”
• Chapter 20 “Your Part Will Never Die”
• Epilogue
• Acknowledgments
• Timeline
• Endnotes
• Selected Bibliography